“A Night With Janis Joplin," currently knocking audiences side-ways with nuclear fueled rock-n-roll at the Lyceum Theater, is much more than the title suggests. 

The poster and other marketing elements give the illusion that its more of a concert than a musical.  It's neither and it's both.

Nostalgia seems to be the unifying cord of Randy Johnson's musical time capsule.  The time machine lever is firmly locked on the psychedelic haze of the 1970's; exploring the inner workings of the rock icon whose husky, whiskey soaked wails cut through the noise of the rock & roll boys club –forever earning her a distinctive–yet tragic –place in rock history.

It's remarkable to witness the transformation of Mary Bridget Davies into Janis Joplin (who died of an overdose of heroin and alcohol at 27).

Phoenix rising, ashes scattering, the metamorphous by Ms. Davies begins with the small details: Joplin's impatient walk, her rebel stance and most endearing, how she absentmindedly rubs her forehead when confronting uncomfortable truths.

Then Davies opens her mouth to sing and the spot on vocal impersonation of the legendary belter are, dare I write this, better than most recording that I've heard of the immortal, tragic diva. 

Mary Bridget Davies out sings Janis Joplin.

The spell is woven and it's powerfully backed by the Joplinaire's, four African-American women

with sweeping voices that support and captivate: Taprena Michelle Augustine (Joplinaire/Chantel/Bessie Smith/Blues Singer), De’Adre Aziza (Joplinaire/Chantel/Nina Simone/Odetta), Allison Blackwell (Joplinaire/Blues Woman/Aretha Franklin) and Nikki Kimbrough (Joplinaire/Etta James/Chantel.

Janis's life and signature sound was infused by the blues and inspired by women who are as much a legend as Joplin herself.

The hunger for love and the fight for equality, which are so much a part of the African-American sound that erupted in the 1930's is why Janis Joplin sounded like Janis Joplin.

Little Janis wanted to be black and to share the stages with the women that made her feel alive: Bessie Smith,  Odetta, Chantel, Nina Simone, Etta James and Aretha Franklin all of

which have solid stage time.

Carrying the spirit of Odetta and Nina is the shimmering De'Adre Aziza (Tony and Audelco nominated) whose performance brings such a welcome and unexpected jolt you're reminded

that theater equals power either that or the mischievous house technicians ran live electric wires under the seats.

You can't get sincere soul without the queen of soul, Aretha Franklin, who takes center stage sporting feathers, glitz and star power — effortless performed by Allison Blackwell.

Staying in your seat will be a challenge because the live house band, under musical director Ross Seligman, take hazy memories and sets the theater ablaze note-by-note.  You will shake, rattle-and-roll, scream-and-shout, feel the blues and boogaloo.

The artist soul, immortal, and re-examined is what makes the book by Randy Johnson, who also directed, such an original.

Economically the producers really deliver two shows for the price of one.

It's Broadway with a soulful twist and Odetta, Bessie, Etta, Nina and the late Janis Joplin would not only approve but jump on stage to keep the party going at the Lyceum Theater.

WITH: Mary Bridget Davies (Janis Joplin), Taprena Michelle Augustine (Joplinaire/Chantel/Bessie Smith/Blues Singer), De’Adre Aziza (Joplinaire/Chantel/Nina Simone/Odetta), Allison Blackwell (Joplinaire/Blues Woman/Aretha Franklin) and Nikki Kimbrough (Joplinaire/Etta James/Chantel).

Written and directed by Randy Johnson; choreography by Patricia Wilcox; music director/ conductor, Ross Seligman; original music arrangement and direction, Len Rhodes.

The album and the CD is currently available at the Lyceum Theatre,  Amazon.com and the official show website